One of Migot's representative organ pieces, dedicated to the organist Marthe Bracquemond. It is also a legitimate piano piece, explicitly designated by the composer himself as "for organ or piano." The subtitle reads "sur un air Auvergnat" (based on an Auvergnat tune).

 Nicolas de Grigny was a renowned French composer-organist of the Baroque period, a figure who influenced even J.S. Bach. Migot was well-versed in Renaissance and Baroque music, and in his own works, he freely manipulated polyphonic styles. Even though they were Baroque masters, they were always close to Migot, so there is no "straightening of the collar" posture or the eagerness to loudly proclaim something, as seen in pieces generally titled "Tombeau" (tomb) or "Hommage" (homage). Rather, its charm lies in the archaism woven by modes derived from ancient songs (Aeolian, Mixolydian) and its clear, simple sound, making it a fine work that grows more endearing the more one knows it.

 It can be played on the piano without difficulty. The need for careful differentiation of voices and handling of sustained notes is a common characteristic across all of Migot's piano works. It cannot be said that this difficulty arises from the unique circumstance of this work being usable for both organ and piano. The composer himself also arranged this work for orchestra, and the orchestral version was given a new title, "Pour saluer Antoine d’Auvergne" (To salute Antoine d’Auvergne), bearing the name of a different composer.